THE  DEVELOPMENT  OF  MELODIC  ORNAMENTATION  IN 

MODERN  MUSIC 


By 


ELSIE  FRANCES  RHODES 


THESIS 

FOR  THE 


DEGREE  OF  BACHELOR  OF  MUSIC 

IN 


MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1921 


/ 


R W 


UNIVERSITY  OF  ILLINOIS 


CNj 

a. 
u 

CO 

THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 

ELSIE  FRANCES  RHODES 

ENTITLED  . .THE. . DEVELOPMENT. . OF. . .MELODIC  ORNAMENTATION. . IN 


MODERN.  MUSIC 

IS  APPROVED  BY  ME  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF.. BACHELOR  OF  MUSIC  IN  MUSIC  


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/developmentofmelOOrhod 


TABLE  OF  CONTENTS 


Introduction 

Diruta 

Gabrieli-Merulo  

The  Parthenia  

Cacc ini-Mont everde 

Friscobaldi  

Mar sen ne 

Henry  Purcell  

Corelli  

Scarl at  t i-Handel 

Geminiani-Tartini  

J.S.  Bach 

C.  Ph.  E.  Bach 

Leopold  Mozart 

Nicolo  Pasquali-J. C. F. Bach 

Turk 

Gluck- Haydn  

W.  A.  Mozart 

Beethoven  

Web  er-Schub  ert 

Viott  i-Kreutzer-Rcde-Paganini-spohr 

Rossini-Bel'lini-Donizett  i 

Hunan  el -Czerny 

Mendels  s ohn-Schumann 

Grieg-Chopin 

Berlioz-Liszt-fagner 

Conclusion 


1 

13 

17 

18 

22 

22 

23 

26 

27 

27 

29 

32 

44 

56 

59 

61 

64 

65 

68 

73 

74 

77 

77 

80 

82 

86 


87 


MUSICAL  ORNAMENTATION 


"Up  to  tne  time  of  Beethoven,  many  important  points  in  the  exe- 
cution of  music  were  matters  of  tradition.  Tempo,  for  instance;  pitot 
in  vocal  music  a capella;  gradations  of  piano  and  forte;  tne  way  to 
play  accompaniments  from  a figured  bass;  "Diminutions",  "Divisions", 
and  the  way  to  render  certain  embellishments  in  both  vocal  and  instri 

mental  music;  all  were  left,  more  or  less  to  the  discretion  of  the 

* 

executants."  Questions  of  taste  and  style  have  ever  been  decided 
by  an  appeal  to  tradition.  In  the  case  of  practical  musicians  tnere 
has  always  been  a tendency  to  deviate  from  once  accepted  traditions; 
and  even  when  they  are  theoretically  followed,  they  are  frequently 
found  to  be  incomplete  or  perverted. 

In  attempts  to  apply  tne  explanation  of  an  ornament  given  by 
this  or  that  composer  to  contemporary  music  or  even  to  music  of  his 
own,  a number  of  puzzling  questions  as  to  practice  arise,  towards 
which  tne  tables,  just  because  they  are  tables  - that  is  to  say,  ab- 
stracts - fail  to  furnish  a sufficient  answer.  Some  such  questions 
are:  Is  tne  ornament  diatonic,  or  does  it  require  an  accidental? 

Does  it  fall  on  the  beat  of  the  main  note,  as  usual,  or  can  it  be 
meant  to  precede  the  main  note?  Is  it  quick  or  slow?  If  slow,  in 
what  relation  does  it  stand  to  the  main  note  - what  proportion  of  th( 
duration  of  the  main  note  does  it  occupy?  TChicn  has  the  stress,  - 
the  ornament  or  the  main  note?  If  the  ornament  has  the  sxress,  which 
part  of  the  ornament?  One  author  contradicts  another.  In  the  end 
the  student  is  forced  to  the  conclusion  that  practice  was  somewhat 
lax  throughout,  - no  matter  what  was  taught,  or  who  taught  it,  - and 


* Notes  taken  from  reading  Daunreutner  "Musical  Ornamentation". 
Quoted  passages  marked.  Definitions  - Grove  * s Dicticnarv. 


2 


that  satisfactory  answers  to  particular  questions  can  only  be  obtains:, 
by  historical  comparison. 

As  to  division,  and  especially  to  impromptu  expansions  and 
variations  which  come  under  that  head  in  the  vocal  airs,  the  viol, 
cembalo,  and  flute  solos  of  the  17th  and  18th  centuries,  we  fortu- 
nately possess  a few  completely  recorded  specimens  - the  Adagios  fron 
the  first  six  Violin  Solos  of  Corelli  (Op. 5),  the  "Double  de  Rossig- 
nal”  of  France.  Couperin,  the  Agremeus  and  Doubles  to  the  Barabandee 
in  J.S.  Bach's  Suites,  certain  florid  arias  of  Handel,  his  Air  with 
five  Doubles  (D-mincr)  in  the  third  set  of  harpsichord  lessons,  and 
the  Adagio  in  F which  opens  his  second  Suits.  Pieces  such  as  the 
slow  movements  of  the  Concertos  for  the  Flute,  which  Quantz  wrote 
for  Frederick  the  Great,  and  the  collections  of  vocal  divisions  con- 
tained in  Burney's  History  are  also  good  examples,  shewing  the  im- 
portant part  division  played  in  the  execution  of  solo  music  during  a 
considerable  number  of  years. 

The  tables  and  specimens  given  in  aue  order  later  present  int- 
eresting material  for  tracing  the  gradual  differentiation  of  orna- 
ments proper,  as  expressed  by  signs,  from  the  endless  variety  of  di- 
visions. This  process  will  be  found  to  be  practically  complete  in 
the  time  of  Bacn  and  Handel,  when  divisions  are,  for  the  most  part, 
written  out  in  full  and  incorporated  in  the  text,  and  a variety  of 
signs  remain  to  express  the  ornaments. 

Some  accurate  knowledge  of  the  manifold  and  various  steno- 
graphic signs  for  ornaments,  - graces,  greppi,  tremoli,  tremlemens, 
agr emeu's,  manieren-  is  indlspensible  to  the  student.  The  signs  and 
the  quaint  things  they  stand  for  are  already  in  part  obsolete,  and 
are  tending  to  disappear  mere  and  more  completely  as  time  goes  on; 


' 


3 


but  several  of  them  still  occur  in  daily  practice,  and  the  entire 
number  cannot  be  ignored,  were  it  only  for  the  fact  that  John  Sebas- 
tian Bach  makes  extensive  use  of  so  many.  If  any  player,  who  is  not 
fully  conversant  with  Bach,  tries  to  render  the  Prelude  in  C sharp 
minor  (Preludes  and  Fugues,  Part  II),  he  will  find  the  ornaments  in- 
dicated in  almost  every  measure  a source  of  doubt  and  difficulty. 

They  form  an  integral  part  of  the  Master's  design,  and  it  is  impossi- 
ble to  play  the  piece  without  them.  Yet  not  only  in  this  instance, 
but  in  very  many  important  instrumental  pieces  by  Bach,  players  are 
confronted  with  a series  of  puzzles  of  like  nature. 

It  would  be  idle  to  inquire  where,  when,  or  by  whom  any  particu 
lar  sort  of  musical  grace  or  ornament  was  first  introduced.  Like 
local  peculiarities  of  accent  and  pronunciation,  such  things  arise 
whenever  people  sing  and  play  upon  instruments.  They  are  improvised 
by  one  person,  imitated  by  another,  until  they  become  common  property 
and  rules  are  laid  down  for  their  execution.  Many  indications  of  the 
presence  of  conventional  ornaments  have  been  found  in  mediaeval  vocal 
music,  both  ecclesiastical  and  secular.  In  church  music  the  grace 
notes,  improvised  and  interpolated  by  the  singers,  gave  rise  to  flori<| 
counterpoint  and  divisions.  In  secular  songs,  the  graces  appear  as 
short  additions  to  the  tune,-  little  trills,  beats,  inflections  of 
the  voice,  and  the  like.  Early  in  the  16th  century  they  are  of  fre- 
quent occurrence  in  instrumental  music  too. 

The  attempts  of  early  instrumentalists  to  introduce  changes  in- 
to their  versions  of  popular  tunes  and  their  transcriptions  of  contra' 
punt  a 1 vocal  music,  led  to  what  was  called  Diminution  - the  beginning 
of  Figuration.  In  Diminution,  the  melodic  outlines  are  preserved, 
while  rhe  main  notes  of  a subject  are  changed  into  notes  of  shorxer 


. 


. 


. 


. 


• . . ■ 


. 


4 


duration;  and  tne  divergence  between  divisions  on  the  one  hand  and 
graces  on  the  other  has  hardly  begun.  The  early  attempts  at  dim- 
inution in  Italy  are  usually  no  more  than  a conglomerate  of  rather 
clumsy  graces;  though  as  early  as  159b,  Diruta  tried  to  establish  a 
distinction  between  certain  diminutions,  consisting  of  little  turns 
and  runs,  which  he  calls  "Grcppi",  and  certain  others  consisting  of 
shakes  of  greater  or  less  duration,  which  he  calls  "Tremoli". 

With  some  of  tne  organists  of  the  16th  and  17th  centuries  the 
art,  or  rather  the  trick  of  diminution  was  nothing  else  than  an  easy 
method  of  replacing  the  long  notes  of  a piece  of  vocal  music  by 
groups  of  short  notes  or  diatonic  runs,  by  the  insertion  of  little 
shakes,  turns,  and  appcggiature,  by  syncopation,  and  by  the  use  of 
dotted  quavers  or  crotchets  followed  by  shorter  quavers  or  semi- 
quavers. In  Germany  tnis  process  was  known  as  "organisiren" , "colo- 
rieren"  (to  furbish  up  for  the  organ,  to  colour).  From  Paumann  to 
Woltz  (1571-3617),  German  organists  "coloured"  everything  in  a dull 
mechanical  fashion.  Diminution  in  the  hands  of  French  organists  is 
identical  with  that  of  the  Italians  and  Germans;  perhaps  a little 
more  reticent  than  the  former,  a little  more  tasteful  than  the  lat- 
ter. In  Spain  and  Portugal  vocal  pieces  set  out  in  diminution  for 
the  organ  were  known  as  Glosas.  The  favorite  "Glceas"  and  "Alcados" 
consisted  of  the  introduction  of  groups  of  three  or  six  notes  - 
equivalent  to  our  turn,  mordent,  - ana  transient  shake  - or  of  some 
bits  of  florid  counterpoint  tastefully  applied. 

To  the  great  ana  comparatively  very  early  group  of  English  com- 
posers, Byrde,  Bull,  Orlando  Gibbons,  Peter  Phillips  (1600),  belongs 
the  credit  of  having  first  made  really  artistic  use  of  Diminut ion, or 
Division,  as  they  called  it.  In  their  hands  division  takes  the  four 


. 


. 


. 


5 


of  variations  on  popular  tunes  - the  tune  being  given  to  the  treble. 
Whether  composing  variations  or  merely  preludizmg,  the  English  mas- 
ters run  into  division  abundantly.  Like  the  Italians,  Merulc  and  tne 
two  Gabrielis,  they  take  the  trouble  to  write  out  tneir  long  trills 
in  full,  or  at  least  to  indicate  them  with  sc  many  notes  that  there 
can  be  no  doubt  as  to  when  and  where  a rather  snort  or  a prolonged 
shake  is  meant.  Elaborate  ornaments  - tne  quaint  "double-relisn" , 
the  "elevation",  for  instance  - are  also  carefully  written  out  note 
for  note;  but  for  the  simpler  graces,  such  as  short  shakes,  mordents, 
beats,  and  the  slur  or  slide,  they  employ  a stenographic  sign  - whici: 
amounts  to  no  more  than  one  or  two  little  slanting  lines  drawn  thru' 
the  stem  of  the  note,  and  of  which  the  latter  is  the  form  most  fre- 
quently met  with.  These  signs  are  the  earliest  instances  of  a spe- 
cies of  stenography  employed  to  indicate  ornaments  in  music  for  keyed 
instruments. 

The  English  masters  thus  make  division  the  groundwork,  and 
use  graces  as  true  embellishments.  They  distribute  their  graces  in 
rather  an  indiscriminate  fashion,  often  indicating  them  profusely  as 
pertaining  to  the  inner  parts,  ana  in  places  where  it  is  difficult  tc 
make  out  how  they  can  nave  played  any  sort  of  grace  without  a sense 
of  incongruity.  For  considerable  time  after  Byrde,  Bull,  and  Gibbons, 
musical  publications  abroad  contain  divisions  and  ornaments  elabo- 
rately written  out,  side  by  side  with  graces  indicated  by  a few  sim- 
ple signs.  Such  is  tne  case,  for  instance,  in  Frescobaldi 1 s works 
(1608-1655-45),  where  certain  short  trills  are  marked  t.  and  tr. , 
while  everything  else  is  fully  written  out;  and  the  same  method  of 
notation  is  found  in  the  works  of  his  pupil  Froberger  who  died  1667. 


About  1650  a number  of  ratner  complex  ornaments  begin  tc  take 


' 


1 


. 


■ 


6 


something  like  a permanent  form.  At  the  same  time,  the  use  or  vari- 
ous and  more  elaborate  signs  to  express  them,  together  with  a steadi- 
ly growing  subtlety  of  interpretation  is  found  to  be  rapidly  on  the 
increase.  In  the  matter  of  ornamentation  the  influence  of  early 
English,  French,  German,  and  Italian  lute  players  upon  cembalists, 
and  even  organists,  is  abundantly  evident.  "Lute  players,  profession- 
al and  amateur,  went  to  the  French  Court  from  England,  came  to  the 
English  Court  from  France. " French  lute  music  was  sometimes  tran- 
scribed from  lute  tablature  to  staff  notation,  and  published  for  the 
clavecin."  "No  instance  of  the  contrary  has  come  to  light;  but  as 
late  as  1717  the  designation  "choses  lutees"  is  used  by  Francois 
Couperin  to  express  the  notation  of  pieces  in  which  the  chords  are 
played  arpeggio,  or  else  rhythmically  divided  or  "broken",  lute 
fashion. " 

In  the  publications  of  French  clavecinists,  everything  that  per- 
tains to  division  is  incorporated  in  the  text,  and  the  numerous  and 
choice  ornaments  Which  they,  as  the  neaas  of  a school,  approve  of, are 
indicated  by  those  signs  with  many  of  which  we  are  still  familiar. 

In  the  hands  of  the  next  generation  of  clavecinists,  during  the 
reign  of  Louis  XV,  the  ornate  French  style  attains  its  fullest  de- 
velopment. It  may  be  studied  in  the  "Pieces  de  Clavecian"  of  Francoin 
Couperin  (1668-1733)  ; the  Suites  of  Dienpart,  some  features  of  which 
J.S.  Bach  thought  worthy  of  imitation;  the  Pieces  and  "Concerts  en 
Trio"  of  Rameau,  and  its  method  is  clearly  set  forth  in  the  classical 
school  of  French  harpsichord  playing  - Couperin’s  "L’Art  de  toucher 
de  Clavecin",  in  1717.  It  was  from  this  distinguished  school  of 
chambounieres  and  the  Couperins  that  J.S.  Bacn  got  his  signs. 


Daunreutner  "Musical  Ornamentation",  Vol.I. 


7 


"The  tilings  expressed  by  tne  French  stenographic  characters 
are  or  course  much  older  than  the  characters  themselves,  and  proba- 
bly reached  Bach  from  all  parts  of  Europe  - from  the  English  virginal 
players  and  composers  of  the  Parthenia  through  Sweelinck  of  Amster- 
dam and  some  of  his  many  disciples,  Bmtehude  of  Ldbeck,  Bruhns  of 
Iiusum,  Schridt  of  Halle,  and  Reinken  of  Hamburg  - from  Frescobaldi 
in  Rome  through  his  pupils  Froberger  and  Franz  Tunder,  who  became 
organist  at  Lidbeck  - through  the  South  German  organist  and  cembalist 
George  Muffat,  who  spent  six  years  in  Paris  in  Lulley's  time  - from 
Pachelbel,  organist  at  Mrnberg  - from  friends  and  colleagues  whom 


Bach  heard  and  admired  in  his  youth,  such  as  George  B6hm,  organist 
at  Ldneburg,  and  Johann  Gottfried  Walther,  organist  at  Weimar  - from 
the  older  members  of  his  own  family  - and  even  from  Faust nia  Haase 
and  the  vocalists  of  the  Italian  Opera  at  Dresden. n * 

However  this  may  be,  it  is  certain  that  Bach's  use  of  signs  is 
mainly  based  on  French  models.  The  German  names  for  the  French  signs 
as  set  forth  in  C.  Ph.  Emanuel  Bach’s  "Versuch  doer  die  Wahre  Art  das 
Clavier  zu  Spielen"  (Essay  on  the  true  way  of  playing  the  Clavier), 
1753,  are  still  in  use.  They  have  the  merit  of  being  simple  and 
definite,  and  for  that  reason  deserve  to  be  adopted. 

In  the  matter  of  "Manieren"  (German  term  for  graces),  C.  Ph.  E, 
Bach  also  follows  in  the  wake  of  the  French  masters,  whom  he  praises 
for  their  accuracy,  neatness,  and  good  taste.  But  his  view  embraces 
a far  more  extensive  field  than  Couperin's,  and  he  goes  into  many 
subtle  details,  of  which  Couperin  apparently  had  no  notion.  By  the 
aid  of  numerous  examples,  he  explains  all  the  signs  separately,  and 
adds  sundry  complications  of  his  own.  His  book  represents  the 


* 


Daunreuther  "Musical  Ornamentation",  Vol.I. 


8 

high-water  mark  of  the  clavier  before  the  advent  of  the  pianoforte. 
(Before  ana  after  J.S.  Bach  German  musicians  applied  the  term  clavier 
in  a general  way  to  all  instruments  with  a key-board) . C.  Ph.  E.  Bac 
is  admitted  to  be  the  leading  representative  of  the  German  school  of 
"clavier”  playing.  None  the  less  it  would  be  a mistake  to  accept  him 
as  the  sole  guide  to  his  father’s  works,  even  in  the  matter  of  graces 
of  which  he  makes  so  great  a specialty,  he  dees  not  profess  to  be  a 
guide  to  any  man’s  practice  other  than  his  own;  and  though  he  speaks 
reverently  of  his  father  and  quotes  his  words  as  these  of  a "great 
man",  he  quotes  them  simply  to  enforce  his  own  views. 

The  practice  of  J.S.  Bach  cannot  be  traced  without  constant 
reference  to  the  works  of  his  predecessors  and  the  contemporaries  of 
his  early  days.  At  the  time  of  his  death,  1750,  musicians  did  not 
feel  the  value  of  his  example  as  we  now  feel  it,  and  few  were  aware 
of  more  than  one  side  of  his  genius.  Few  really  followed  and  con- 
tinued in  his  ways  as  a practical  organist  and  clavier-player,  still 
less  as  a composer  for  keyed  instruments.  his  sons  and  disciples 
started  each  on  some  by-way  of  hi3  own  and  strove  to  develop  some 
specialty.  Accordingly,  none  of  that  remarkable  cluster  of  instruc- 
tion books  wnich  appeared  soon  after  Bach's  decease  can  be  taken  as 
adequately  representing  him,  though  for  the  most  part,  they  emanate 
directly  from  the  circle  of  his  pupils  and  friends. 

The  great  number  ana  variety  of  graces  and  conventional  divi- 
sions constantly  employed  by  the  Italian  vocalists  and  violists,  the 
French  and  German  lutenists,  clavecinists , and  organists  of  the  16th, 
17th,  and  the  first  half  of  the  18th  century,  is  only  superficially 


accounted  for  by  a reference  to  the  prevailing  taste  of  the  time. 

From  a musician’s  point  of  view,  divisions  and  graces  are  part 


9 


and  parcel  of  musical  speech*-  elements  of  style*  having  a common 
origin.  The  explanation  of  their  rapid  development  lies  in  our  in- 
; stinct  for  variety  and  in  tne  delight  wnich  variety  gives.  "With 
a group  of  poets  the  vocabulary  may  increase  whilst  the  range  of 
simile*  comparison  and  image  widens,  until  a need  is  felt  for  concen- 
tration and  a more  careful  choice  of  words.  So,  with  a school  of 
composers,  the  tendency  of  divisions  and  graces  to  luxuriate  may 
bring  about  a desire  for  some  check."*  It  would  seem  that  the  influ- 
ence which  got  the  upper  hand  of  random  ornamentation,  was  developed 
in  thorough  bass,-  tne  harmonic  system  with  its  figured  continuo.  In 
early  days*  in  secular  songs  as  well  as  in  solo  music  for  the  lute, 
the  use  of  graces  was  permitted  without  much  regard  to  regularity  of 
time  or  any  special  rate  of  speed*  and  the  instinct  of  executants 
could  be  trusted  to  secure  an  acceptable  result.  But  when*  in  the 
course  of  the  17th  century*  a change  from  the  contrapuntal  to  the 
harmonic  method  of  treatment  became  more  and  more  marked*-  wnen 
pieces  of  mu3ic  came  to  be  founded  on  some  simple  well  balanced  ser- 
ies of  fundamental  harmonies*-  it  was  felt  that  divisions  and  orna- 
ments ought  to  chime  exactly  with  the  rhythmic  movement  of  tne  bas-s. 
Expert  harmonists  among  composers  were  thus  induced  to  determine  the 
exact  position  of  each  grace*  and  to  show  by  some  sign  what  sort  of 
grace  was  best  for  a particular  note  in  a particular  position. 

On  the  other  hand,  most  vocal  and  many  instrumental  virtuosi 
chose  to  insert  divisions  and  graces  whenever  and  wherever  they 
thought  fit.  They  prided  tnemselves  on  their  apparently  impromptu 
performances  and  strongly  inclined  towards  tempo  rubato.  In  this 
connection*  more  and  more  frequently  cases  arose  when  composers  found 

j!  * Daun  rant  her  "Musical  Ornamentation", 


. 


■ 

- 


' : 


■ 


, 


10 


it  worth  while  to  prevent  vagaries  and  to  describe  the  ornaments  in 
small  notes  (grace  notes)  or  to  define  the  signs  for  sucn  ornaments 
by  means  of  a table. 

J.S.  Bach  went  furtner  than  tnis.  Not  only  did  he  accept  the 
highly  specialized  signs  and  the  practice  of  writing  "les  agremes” 
in  full,  but  finding  that  the  licence  of  executants  was  still  an  im- 
pediment, he  chose  to  incorporate  many  of  the  ordinary  ornaments  and 
virtually  to  embody  them  in  his  text.  Thus,  it  has  come  to  pass  thai 
certain  traditional  ornaments  fully  written  out  form  a by  no  means 
inconsiderable  part  of  J.S.  Bach’s  figuration.  In  the  mature  works 
of  Bach's  two  greatest  successors,  Beethoven  and  Wagner,  the  instinct 
for  a grand  style  has  led  to  the  almost  total  extinction  of  the 
graces  as  such,  and  ta  t.ne  absorption  even  of  some  of  the  simplest 
of  them;  witness  the  very  frequent  occurrence  of  the  common  turn, 
broadly  written  out  and  fused  with  the  context  in  ^agner's  "Tristan" 
and  "Me  1st er singer  ”, 

’’Many  a curious  fact  or  inference  with  regard  to  the  true  ori- 


gin of  certain  things,  or  the  connection  of  one  thing  with  another, 
has  come  to  light.  For  instance:  the  Italian  "Partite  sopra  1’  an 
of  Frescobaldi 1 s time  prove  identical  with  the  early  English  vari- 
ations and  divisions  of  the  Parthenia. " "It  would  appear  that  the 
rather  absurdly  so-called  cyclical  forms  before  the  sonata  - the 
Suite  and  the  Partita  ardsefrom  the  practice  of  lute  players."* 
Lutenists,  who  were  in  the  habit  of  playing  from  the  bock,  found  it 
convenient  to  copy  pieces  in  the  same  key  one  after  another,  so  that 
they  might  be  in  a position  to  play  several  pieces  in  succession 
without  having  to  stop  and  fumble  the  leaves,  or  to  re-tune  the  open 

* Damiretather  "Musical  Ornamentation". 


a1 


11 


bass  strings  of  the  lute.  This  is  tne  true  origin  of  the  "ordres  des 
pieces",  "suites  des  pieces",  etc. 


The  fact  tnat  time  signatures  - 


a 

d 4-j  , 

3 3 3 M 

2 2 

4-  1 

1 1 1 T 1 

1 2 4-  4-  / 

1 2 

2 II 

in  the  17th  century,  and  probably  all  along,  were  meant  - besides 
their  usual  significance  to  suggest  the  speed  of  the  units  of  time  - 
that  is,-  the  tempo  in  the  modern  sense,  as  we  would  now  write 
Largo  g ~ is  clearly  brought  cut  in  Frescobaldi ' s preface  to  his 
Capricci,  Canzone,  and  Recercari"  (1624)  ana  in  Purcell’s  Lessons 
(1691). 

The  peculiar  disposition  of  early  Italian  organs,  (See  the 
specification  of  one  of  the  organs  of  St. Mark’s,  Venice,  Circa,  1580, 
p 55  Damir  eat  her  ’Musical  Ornament  at  ion",  Vol.I,  and  the  directions 
for  registration  witn  regard  to  the  various  modes,  p 56),  and  their 
light  touch  compared  with  German  organs,  explains  how  tne  organists 
in  Italy  came  so  readily  to  fall  into  division  and  to  cultivate  a 
taste  for  little  trills  and  fioriture.  A clever  organ  builder,  like 
Attegnati  of  Brescia,  produced  an  instrument  easier  to  manipulate; 
and  in  the  hands  of  ingenious  players  the  result  was  the  Toccata. 

Elaborate  ornaments  are  sometimes  discovered  in  the  alto  or 
tenor  parts  of  old  pieces  written  out  note  for  note,  imbedded  in  the 
text,  ana  conveying  to  the  eye,  if  not  to  the  ear,  an  impression  of 
an  intolerable  combination  of  discordant  sounds.  Yet  such  passages 
are  readily  intelligible  and  can  be  played  in  a satisfactory  manner, 
i-L  only  tne  player  realizes  that  he  is  dealing  with  a "grace". 

The  musicians  of  the  Ibth  and  17th  centuries,  were  brought  up 
on  the  ecclesiastical  scales,-  the  modes,  with  the  rise  of  the  opera 


13 


and  the  growth  of  instrumental  music,  thorough-bass,  to  some  extent, 
replaced  counterpoint,  and  the  modern  major  and  minor  scales  made 
taeir  way  rapidly.  Yet,  up  to  the  time  of  Bach  and  later,  melodies 
written  in  the  modes  formed  tne  theme  of  many  a fine  piece,-  for  in- 
stance, some  of  Bach's  Chorales. 

It  is  natural,  therefore,  that  the  feeling  of  Bach's  predeces- 
sors and  contemporaries  should  incline  towards  diatonic  progressions 
generally  and,  in  the  case  of  ornaments,  towards  diatonic  changing 
notes.  This  being  sc,  it  ceases  to  be  a matter  for  surprise  when  we 
find  so  many  instances  of  ornaments  fully  written  out,  in  which  the 
changing  notes,  in  shakes,  mordents,  and  turns  are  simply  diatonic. 
"Organists  will  remember  the  case  of  the  two  mordents  on  the  fifth  B, 
with  which  the  theme  of  Bach's  Fugue  in  E minor  (No.  Ill  of  the  first 
set  of  six  Preludes  and  Fugues  for  the  Organ)  begins. "*  "The  acces- 
sory note  belonging  to  these  mordents  is  meant  to  be  the  diatonic 

$ 

fourth.  A,-  not  A-sharp. " Ornaments  were  diatonic  before  and  in 
Bach's  time,  and  they  must  be  so  interpreted.  But  Bach's  followers 
beginning  with  Beethoven  discarded  the  greatest  number  of  signs  for 
graces  which  they  included  in  their  music  broadly  written  out.  How- 
ever, graces  themselves  are  not  extinct.  It  is  tne  method  of  no- 
tation which  has  changed;  signs  for  graces  have  been  abolished,  while 
the  grace  notes  are  expressed  in  the  text,  either  in  smail  type  or 
fully  incorporated  in  the  time  of  the  measure. 


I)aunreuther,  "Musical  Ornamentation",  Vol.I. 


f 


■ 


Graces  smootn  and  shaked  from  Christopher  Simpson,  "The  Divi 


sion  Violist 1,1 


Diruta  - How  To  Play  Groppi  (How  to  Improvise  Divisions) 

Groppi  are  played  in  various  ways,  that  is,  witn  crochets, 
quavers,  and  semi-quavers;  also  with  semi-quavers  and  demi  semi-quavers 
They  move  diversely,  ascending  and  descending  diatomcally ; also 
witn  accidentals  as  in  the  following  examples.  (Daunreutner  "Musical 
Ornamentation",  Vol.I.) 


Groppi  with  accidentals  - 


Further  examples  of  Groppi  - 


(Sub i ect ) 


. . 


. 


Subject.  Doric  iioae  transposed,  requires  h for  its  minor 
third  and  for  the  cadence. 


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7 

ri  i » : 

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txy  * ~r 

How  to  Play  Tremoli  (Shakes) 


Play  all  tremoli  lightly  ana  with  agility,  ao  net  perform  them 
with  the  key  below,  but  with  the  key  above.  If  a Tremolo  is  to  be 
made  upon  a minim,  the  Tremolo  will  last  only  naif  a minim  - that 
is,  one  crochet.  The  s.arne  thing  takes  place  with  notes  of  any  other 
value;  that  is,  the  shake  takes  just  half  the  value  of  tne  main  note 


. 


III 


. 


■ 


Sub  i ect 


T±E 


16 


I 


± 


T 


22 : 


Shakes  according  tc  Diruta,  take  up  half  the  value  of  the  main 
note  and  stop  upon  it;  they  start  with  tne  main  note*  and  they  are 
played  with  the  upper  accessory.  Like  Groppi,  shakes  are  diatonic  un- 
less a cadence  demands  an  accidental.  But  in  the  example  of  tremo- 
letti  given  above,  there  is  a case  of  the  lower  accessory  note  form- 
ing part  of  the  snake;  and  the  first  example  of  diatonic  groppi  con- 
tains a snake  with  the  lower  diatonic  accessory.  Again  Diruta  stig- 
matizes shakes  "with  the  key  below"  a3  bad  practice;  his  examples, 
however,  snow  that  mordents  - i. e. , shakes  or  half-shakes,  with  the 
lower  accessory  tone  or  semi-tone,  were  common  enough  in  his  time. 
Moreover,  his  groppi  exhibit  shakes  which  start  with  tne  upper  acces- 
sory and  net  with  tne  main  note  as  ne  demands.  This  ambiguity  in 
Diruta  is  representative  of  the  vexatious  question  whether  shakes 
shall  start  with  the  accessory  or  with  the  main  note  which  persists 
to  the  present  day, 

Andrea  Gabrieli  1510-1586 
groppi  and  Tremoli  from  "Canzcn  Ariosal’. 


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Claudio  Merulo  15153-1604 
Tremoli  from  ’’Toccate  D* intavolatura 
D’ Organ o 


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examples  of  music  engraved  on  copper  plates:  1611  is  the  date  of  first 
publication,  bur  most  of  the  pieces  are  older.  Dr.  Bull's  may  be 
uen  years  older  than  tncse  of  Orlando  Gibbons;  Byrde' s twenty  years, 
or  even  more.  The  Parthenia  was  reprinted,  always  from  the  same 
plates,  in  1613,  1635,  1650  or  1651,  and  1659.  Tne  Parthenia  con- 
sists of  21  pieces;  eight  by  Byrde,  seven  by  Dr.  Bull,  six  oy  Orlande 
Gibbons.  Some  are  grouped  witn  a view  to  being  played  in  succession. 
Byrde:  Prelude,  Pavana  and  Galiardo  "Sir  William  Petrs"  - in  G minor- 
the  Pavin  is  a stately  piece,  in  square  time,  the  Galiard,  somewhat 
quicker , in  triple  time;  Prelude  and  Galiardo  "Mrs.  Mary  Brcwnlo"  — 
in  C;  Pavana  "The  Earle  of  Salisbury”  and  two  Galiards  in  A minor. 
Bull:  Prelude,  Pavana,  and  Galiardo  "St. Thomas"  Wake"  in  G;  fwo 
Galiards  in  D minor.  Gibbon's  pieces  are  not  grouped.  A stave  of 
six  lines  for  each  hand;  clefs  F,  C and  G,  placed  upon  various  lines: 
To  facilitate  the  reading  of  extra  lines,  two  clefs  on  a stave: 


hr 


3 





i 


i 


= 


^ ■ 0 


= 


llj  _ 


Jk 


-.iJt  L..L  i ft  | ; Wt 


* 

. 


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19 


Time  signatures:-  (£■  (=  ^ or 


9 (=  £)  (=  \) 

Accidentals,  both  sharp  and  flat  in  plenty,  carefully  placed 
before  or  below  each  particular  note  concerned.  Sharps  stand  for 
naturals  if  a natural  is  required  after  a flat.  Rests  are  omitted 
wherever  an  omission  is  feasible.  No  special  indications  of  tempo, 
the  time  signature  was  deemed  sufficient. 

Divisions  (groppi,  tremoli,  tiratae)  abound.  Side  by  side  witt 
these  very  numerous  graces  are  indicated  by  two  oblique  lines,  or  a 
single  oblique  line,  rising  from  left  to  right,  ^and  Such  lines 
are  drawn  across  the  stem  of  the  notes  - /+?  . Unfortu- 

nately there  is  no  evidence  of  sufficiently  early  date  to  show  the 
particular  graces  these  signs  stand  for.  We  know  that  certain  kinds 
of  graces  were  constantly  employed  by  the  instrumentalists  of  the 
time.  It  is  likely,  that  the  sign  in  the  Parthenia  sometimes 
stands  for  an  appoggiatura  from  below  or  from  above,  or  for  a double 
appoggiatura.  The  double  sign  ^occurs  with  varying  significance  uj 
to  the  time  of  J.S.  Bach.  The  sign  in  the  Parthenia  sometimes 
stands  for  a short  shake,  but  if  placed  over  long  notes  which  cannot 
well  be  sustained,  and  especially  ever  prolonged  notes  at  the  end  of 
a section,  it  probably  signifies  the  reiteration  of  a note. 

A vibrato,  in  the  sense  of  lute  players  of  old  and  the  violin- 
ists of  today,  that  is,  a very  slight  and  rapid  fluctuation  of  the 
pitch,  produced  by  a tremulous  motion  of  the  finger  upon  the  strings 
is  impossible  on  keyed  instruments.  But  an  effect  closely  resembling 
it  can  be  got  upon  the  clavichord.  The  earliest  instance  in  which  a 
substitute  for  vibrato  is  written  out  in  full  occurs  in  Froberger’s 


30 


"Suite  de  Clavessin  in  D".  A later  and  familiar  example  is  container 
in  the  bass  of  J.S.  Bach's  Gavotte  in  G minor. 

The  shortest  piece  in  the  Parthenia,  No. VI,  Byrde's  Pavana, 

"The  Earle  of  Salisbury"  show  how  the  graces  occur  and  how  they  are 

played 


rJ  j. 
ri-jr 

— 1 — 

zz= 

4= 

n i < 

_j <i 



C/ 

f--. 

ll4  1 'l 

^ j 

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y 1 1 

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L 

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i > . i 

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-ku 1 J. 

Played,  tnus: 


— ^ 

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^ ' 

. i 

' r M & * lT 

& # M— 

<?  - 

1 

1 \ \ w 

^ “ 9 

1 1 -fc=±_jJ  i ^ n 

m } U-u  h=m-i 

A volume  of  music  for  the  virginals  and  harpsichord  in  the 
Britisn  museum  contains  the  following  signs  for  graces,  and  their 
explanat ions : 


A .v  i\ 

, ft  \ ^ F d 1 

— — F:l 

A — FT 

1 y1 j \r 

r i 

U 1 ! ' ?; — 

j jk  • m 

.j 

* . * a - 

r— 

O ' ' > A*  * ° 

^ »■  0 p 

* • 9 •!*  f • r'  i 

1 * 

p- 

i 

f # c ! 

O ?? 

1 

1 

1 1 

, | 

?T 

’ O 

O’  & 

05= 

r~rr 

>» 

1 TTj 

> 

T ^ 

j 1 

c 

1 

T j 

1 <CDl- 

23 


Accordingly,  the  simple  sign  .x"  here  signifies  a sort  of  slide;  the 
compound  sign^^ a slide  and  appoggiatura;  ^slide  and  snake  with 
peculiar  closing  notes;  i^a  shake  witn  a turn. 

Trillo  and  Gruppo  from  1560-1840  Caccini:- 


Monteverde  (1568-1643),  in  the  "Address  to  Charon",  from  Act 
III.  of  his  opera  "Orfeo"  (1608-9),  introduces  a combination  of 
Caccinis’  ribattuta,  trills,  and  groppo  - 


-±kLU 


L 


-Lr  U f-. 


' ' 


t 4 * j y 


Frescobaldi  (Girolamo)  1583-1644,  writes  out  all  his  divisions 
and  ornaments  except  the  short  shake  - tremolo,  tremoletto  - which 
ne  indicates  by  a sign. 


• • ..  . 


. 


1 


Fiori  Musicale 


■+—S-* 


— — 


Taccato  III 


could  be  written  like  this  - 


Marsenne  - The  Lute 

Letters  on  left  of  perpendicular  line  denote  the  frets  on  th 
neck  of  tne  lute  - that  is,  if  a finger  of  the  left  hand  stops  at 
one  of  the  frets,  as  on  a guitar  or  banjo,  tne  pitch  of  tne  sound 


* 


' 


' 


. 


26 


Henry  Purcell 


A shake  is  marked: 


Beat 


I 


Plain  note  and  shake 


4- 


y/ 


Fore  fall 


Back  fall 


— 


= 


*dr- 


Turn 


Shake  turned 


Slur 


32 


ro 


o 


± 


= 


Battery 


w 


explained: 

— » i ^ 

- — ~ * & ■>  ^ <?  ... 


/ £ j 

ri 

i 

s. 

-i l—i 

— i 

1 

-ar— * 


m 


~ 


fi 


1 1 

*• 


— ^ — 


? rfT: 

1 

U 

- — 

• 

— 

■«  - - ■ 

s 


-e3»- 


— f- 


t 


The  names  and  signs  for  Purcell's  graces  are  obsolete  - but  the  thing! 
intended  still  exist  and  the  directions  apply.  Purcell's  piece 
”Almandtt  is  a good  example  of  his  ornamental  style.  Matthew  Locke 
and  Jon.  Froberger  who  lived  at  the  same  time  offer  notning  new  from 
Frescobaldi  who  was  given  above. 

Signs  and  Marks  cf  Chambonnieres  1670 


m 


- 


Arcangelo  Corelli  - 1653-1713.  Corellis'  "Opera  Quinta"  con- 
tains the  solo  sonatas  which  the  composer  performed  on  special  oc- 
casions. These  sonatas  consist  of  a plain  violin  part  over  a bass, 
sometimes  figured,  sometimes  not.  Corelli's  own  embellishments  ap- 
pear above  the  plain  violin  part.  A few  measures  is  given  below 
from  the  Adagio  from  Sonata  II. 


prompted  him  to  avoid  the  use  of  all  but  the  most  familiar  ornaments 
They  include  the  common  shakes,  mordents,  turns,  and  appoggiature. 
Scarlatti's  .shakes  may  as  often  be  begun  with  the  main  note  as  with 
tne  upper  accessory.  He  is  fond  of  the  slide,  of  the  acciaccatura. 


28 


the  arpege  figure  - and  the  glissando. 

Handel,  like  Scarlatti  has  comparatively  few  signs,  and  none 
tnat  are  ambiguous.  his  shakes  may  occasionally  but  not  as  a rule, 
begin  with  the  main  note.  Fine  specimens  of  combined  graces  and  di- 
visions are  given  in  ms  Adagio  in  F which  begins  the  second  Suite 
and  the  Air  in  D minor  from  tne  third  suite.  Concerning  the  arpeg- 
gio chords  in  such  pieces  as  tne  preludes  to  Hanael ' s Suites  I. ,V. , 
the  player  is  at  liberty  to  "break"  them  up  and  down  several  times 
in  succession  - to  widen  them  and  even  intersperse  them  witn  acci- 
accature  as  he  sees  fit,  ana.  as  Handel  has  himself  done  in  tne  last 
four  measures  of  the  prelude  to  the  Suite  in  D-minor,  No.  lit.  Tne 
dot,  with  Handel,  as  with  J.S.  Bach,  in  many  cases  has  but  an  approx 
imate  value:  for  instance,  in  the  Overture  to  the  Suite  in  G minor, 

„ VT.  t n n — r=t 

I?  n r 


After  snort  shakes  tne  dot  often  stands  for  a snort  rest. 
. Allemande.  Suite  in  D minor.  No. III. 


Table  of  Ornaments 


1.  The  plain  snake  is  appropriate  for  quick  movements;  and  it 
may  be  made  upon  any  note,  passing  immediately  to  the  ensuing  note  - 


£ 


2.  The  turned  shake  made  quick  ana  long  is  fit  to  express 
gaiety. 


b.  The  superior  apoggiatura  is  supposed  to  express  love,  affe 
tion  and  pleasure. 


4.  The  inferior  apoggiatura  has  the  same  qualities  with  the 
preceding,  except  that  it  is  much  more  confined,  as  it  can  only  be 
made  when  the  melody  rises  the  interval  of  a second  or  third,  making 
a beat  on  the  following  note. 


that  is:- 


' • 


. 

■ 


■ 

- 


30 

5.  Holding  a note.  It  is  necessary  to  use  this  often  sc  melo 


dy  note  may  be  heard  during  a shake. 


6.  The  Staccato.  This  expresses  rest,  taking  breatn  or 
changing  a word. 

. t ■ r , 


± 


7-8.  Swelling  and  Falling  the  Sound.  These  two  elements  may 
be  used  after  each  other;  they  produce  beauty  and  variety  in  the 
melody. 


_<2_ 


iEZEF 


9-10.  Piano  and  Forte. 


I 


F 


V 


[ Lu  EJ  I 


ZZ 


t 


11.  Anticipation.  was  invented  with  a view  to  vary  tne  melo- 
dy, without  altering  its  intention. 

© © V-tk®  f i 

. s ,r « ^ ^ * f » s. 


— 


. 

I 'ofc-P 

. 


. 


’ . 


31 


12.  Separation.  Designed  to  give  a variety  to  the  'melody  and 
takes  place  most  properly  when  the  note  rises  a second  or  third;  as 
also  when  it  descends  a second,  then  add  a beat  and  swell  the  note, 
and  then  make  the  apoggiatura  to  the  following  note. 


In  modern  notation: 


13.  Beat. 


* 

• * 


J 


■ ■ ' 9 


b2 


Giuseppe  Tartini  (1692-1770) 
Trill  - (Violin  Sonata  in  G minor). 


J.S.  Bach  1685-1750 


Bach’s  ornaments  are  diatonic,  that  is,  they  are  to  be  sung  or 
played  with  the  notes  of  the  scale.  Chromatic  inflections  alien  to 
the  scale  are  permitted  only  in  case  of  modulation,  or  to  avoid  an 
abnormal  interval.  Augmented  intervals  cannot  form  part  of  an  orna- 
ment, and  ornaments  comprised  in  a diminished  interval,  that  is,  a 
chromatic  turn  in  a diminished  third  such  as  E flat,  D,  C sharp,  D - 
are  inadmissible  unless  Bach  has  fully  written  them  out.  Ornaments 
belong  to  the  time  of  the  main  note.  On  keyed  instruments  orna- 
ments and  the  notes  or  chords  supporting  them  in  the  same  hand  must 
be  struck  together;  if  a chord  is  played  arpeggio  the  ornament  forms 
part  of  the  arpeggio.  All  ornaments,  whether  indicated  by  signs  or 
by  small  notes,  are  subject  to  the  beat  - they  must  be  treated  as 
essential  to  the  melodic  progress  of  the  part  in  which  they  occur, 
and  rendered  so  as  to  agree  with  the  dominant  pulsations  of  the  time 
Shakes  - prolonged  snakes  rather  than  snort  ones,  generally  start 
with  the  upper  accessory.  Shakes  upon  a note  with  a dot  stop  at  or 


33 


near  the  dot  - a short  note  following  the  dot  is  usually  taken  some- 
what shorter  than  it  is  written.  Shakes  and  mordents  upon  a pro- 
longed note,  when  sucn  note  is  tied  on  to  another  and  shorter  note 
of  the  same  pitch,  stop  before  the  latter,  without  emphasis  and  with- 
out closing  notes.  Appoggiature  are  far  more  frequently  short  than 
long.  The  duration  of  appoggiature  depends  upon  the  speed  of  a move- 
ment, upon  the  harmonic  basis,  and  the  prevailing  rhythms.  All  pro- 
longed approggiature  have  the  stress  and  the  main  note  following  a 
long  appoggiatura  is  meant  to  be  taken  rather  softly. 

Bach’s  Table  of  Ornaments 
Signs  and  How  they  are  Played. 


■ 


b4 


Compl  et  e List  of  J.  S.  Bach 1 s Or  name  nts  and  the  Signs  f or  Them 


Tnller,  long a/Wjx  aw 

Prall-Triller 

Triller,  with  prefix  from  above * o Owv 

Triller,  with  prefix  from  below o 0>w 

Mordant,  snort 

Mordant,  long r>o 


i 


crv 


) 'i 


- rt  fi  * 


Vorschlag,  from  above,  snort  

Vorschlag,  from  below,  short  

Nachschlag.  . .sign  N placed  after  a note,  tnus:- 

/ 

or  else  expressed  by  means  of  a tiny  note  rsembling 
an  ordinary  appoggiatura,  thus:-  J.1' 

Doppelscnlag g 

Schleif'er 

Anschlag  ...  a sort  of  double  appoggiatura  always 

written  out  

Arpeggio  

Acciaccatura  

Begung  

Groppo  (Gruppo)-  The  word  only;  no  distinct  sign. 

Double  Signs 

Combination  of  Appoggiatura  and  Mordent.  . . . cyj  .O  d7 

Combination  of  Appoggiatura  and  trill 

Combination  of  Dcppelschlag  and  Prall-triller jvj 

Combination  of  Arpeggio  and  acciaccatura  / 


f 


35 


Ornaments  - Illustrations 
Shakes  beginning  with  the  upper  accessory  are  marked  m,  n;  t,tr 


The  repercussions  may  vary  from 


upwards;  their  num- 


ber is  entirely  at  tneplayer's  discretion. 

Shakes  should  always  be  started  with  the  accessory  wnen  the 
main  note  nas  just  been  struck: - 


Shakes,  with  closing  notes.  The  closing  notes  are  frequently 
written  out;  where  they  are  not  sc  written  they  may  be  added  or  not 
as  the  player  chooses. 

Fugue  a minor..  Preludes  and  Fugues,  Part  I.,  measures  51&52. 


t=t 


1 


f * ~ * f 


±=  mi 


s 


# ^ » f # y m-0 


^ « * * € 

mu 


Fi 


'o 


g-*'"  .<s  «■  - — 

U-klcU 


Often  also  the  closing  notes  instead  of  being  written  out  are 
indicated  by  a perpendicular  stroke  to  the  right  of  the  sign  a syJ 

wf f>  


^ t"*4" 


Trill  and  Mordant  of  Bach's  own  Table. 


36 


it 


& 


rT,#;<y 

[i‘  l IjiL 


n 


m 


e 


# ? * f * 0 w+  m + wf  9 f *'  f m £~w 


sm 


g 


^=: 


Shakes  ascending  in  chromatic  succession  may  or  may  not  be  tak- 
en with  closing  notes,  as  the  player  chooses. 

Organ  Sonata  II,  C minor,  bar  11,  before  end  of  Vivac§  - 


br 


to  ° 

;jo  '• 

■WE  A 

If- — 

r* 

U — — 

1 — L — 

a.  When  the  snake  starts  ex  abrupt o Fugue  XIII,  part  11. 


' 


37 


b.  When  the  snake  starts  after  a note  staccato  - or  after  a 
rest,  Fugue  VI,  part  1,  bar  2 - 


c.  When  the  melody  skips,  and  the  shake  thus  forms  part  of 
some  characteristic  interval;  as,  for  instance,  the  interval  of  the 
seventh  in  the  theme  of  Fugue  XV,  part  1,  bars  25  & 26. 

Written 


d.  When  the  movement  of  the  base  would  be  weakened  if  the 
shake  were  begun  with  the  accessory.  Fugue  IV,  part  ii,  bar  32. 


e.  Shakes  upon  dotted  notes,  when  no  closing  notes  are  intend- 
ed, step  at  or  near  the  dot;  the  short  note  following  the  dot  often 
loses  a little  of  its  value,  and  the  dot  in  such  cases  frequently 
stands  for  a short  rest. 


/^W 


58 


Shakes  with  a prefix  from  below. 

Italian  Concerto  - close  of  Anaante. 


Shakes  with  a prefix  from  above. 


Portita,  B minor.  Overture. 


Slurred  shakes.  Sonata  for  violin  ana  cembalo.  F miner. 


39 


Shakes  upon  a long  note  which  is  tied  on  to  a shorter  one  of 
the  same  pitch  stop  before  the  latter,  without  stress  ana  without 
closing  notes. 

Prelude  IX.  E major,  bar  4. 

JjL 


tr/  m 


— 7 1 a A * & 


3pE 


ffilllD  )JJ  s 


The  sign  for  tne  shake  occurs  combined  with  that  for  the  ap- 


poggiatura. 


Gvv'vW 

1|  » O 


± 


A slow  shake  fully  written  out  occurs  in  Invention  IX,  measures 
3 ana  7. 


^b\nlqL  - 

0 

l wj 

Li  » e=t  — 
-# — 

6 fe  M — Wr+==b=f=-/j — 

UJJ  | i4-i 

-1-  = 

The  Mordent 

Mordent  - short  - Partita  IV,  Mineut. 

/W 


iy  ^ 


a. 


. 


' 


. 


40 


Mordent  fitted  into  the  time  or  the  bar.  Preludes  and  Fugues, 
Fugue  VIII,  oar  21. 


ET#  

v ‘ * o 

-Lh^ — 

td p 

w # 



6 A ^ 

t 

r i—ULxsrii  - 

■■  ■ 

l 

— T 1 i il , j 1 

4-  Jfc.  * 1 1 1 

( 7 

.'hai  /.cJ: 1 L 

X*  9 sm.  4k  9 

~W * * f— 

i y ^ 

t — i — r f — 

— — : t. m u a * « ~ 

I -T  , 1 — t~ 

1 — 1 — 1 — ss — 

— 1 1 

i 1 — a 

Diatonic  mordents  fully  written  out.  Organ  Sonata  II,  C minor 
Allegro,  bar  6^3. 


f-HH 

■~s — A A 

# n 

r.-FFf 

/ Jrv  k 1 

'TT7  r ^ r 

jm  xk  & 4k  9 f 9 ^ 

_l * 1 1 

lm°  b a 

r 1 l i / t 1 f 

— 1 — ^ #- 

t 7=t.  1 ^-r-1  - 

-stJ — 

-1  y g..  * 

/ , fn,  FTh 

— 

i (V)  b <©  « <©  1 r <•  <* 

1 1 

p/  7 * 

►M 

Mordent  Died  to  the  preceding  note.  Organ  sonata  VI. 


Mordenx -prolonged. 

Invention  VII,  E minor.  As  with  shakes,  prolonged  mordenxs 
upon  dotted  notes  should  stop  on  xne  dot. 


: 


Organ  Prelude  and  Fugue  XIV,  B miner 


Doppeiscniag  - Turn:  C\9  and u 


b.  Between  two  notes 


Schleifer  - slide. 


Arpeggio 


43 


Arpeggio  downwards  and  upwards  occurs  in  Kleine  Pr&ludien,  rto 


When  an  appoggiatura  is  applied  to  an  arpeggio  chord;  it  takes 
its  place  as  one  or  the  notes  or  the  arpeggio,  and  occasions  a delay 
of  the  particular  note  to  wmch  it  belongs  equal  to  the  time  re- 
quired for  its  performance;  whether  it  be  long  or  short. 


f 


-fez  » a 

-3 — J 

=q-  ■' ' : — 

-iCul 3 

_ 

— 1 a£2 

« —1 

, f K 


1 


-4- 


U 


tl 


t iv 

^^1 

i 

3s- — = 

an 2T 

1 




. I T 


Arpeggio  and  acciaccatura  indicated  by  signs. 

Sarabande  Suite  - a major 


% 


n 

' ■" "-1S  ’ 

3 9 * ' 0 ' ' 


7 


44 


In  Bach’s  time  double  dots  were  net  in  common  use,  and  the 
single  dot  was  employed  to  express  prolongation  in  a somewhat  less 
strict  way  than  we  are  now  accustomed  to.  Bach,  hand el,  and  all 
their  contemporaries  often  take  the  dot  to  mean  a prolongation  eithei 
mere  or  less  than  one  naif. 

Suite  I,  D minor. 


Concerning  Graces  of  C.  Ph.  E.  Bach 
"uraces  are  useful,  - in  fact,  indispensable.  They  serve  to 
connect  the  notes,  they  enliven  them,  and  give  them  a special  weight 
and  emphasis;  they  render  them  agreeable,  and  thus  attract  especial 
attention;  tney  help  to  bring  out  the  sense  of  the  music  whether  it 
be  sad,  cheerful,  or  otherwise;  they  always  contribute  their  share 
to  the  effect;  they  offer  opportunity  to  the  player  to  exhibit  his 
gifts  of  style  and  expression;  and  an  indifferent  composition  can  be 
made  more  attractive  by  their  aid;  while  without  them  even  the  best 
melody  may  appear  empty  and  void  of  meaning.  1,1  But  though  the  graces 


1.  Daunreuther,  "Musical  Ornamentation". 


45 


are  very  useful  they  may  do  much  harm  if  they  are  ill-chosen  or  em- 
ployed too  frequently  and  in  the  wrong  place.  Therefore,  those  com- 
posers have  done  best  who  have  plainly  indicated  the  graces  which  be- 
long to  their  pieces  instead  of  trusting  to  the  discretion  of  incom- 
petent executants.  Graces  may  be  divided  into  two  classes;  those 
indicated  by  certain  conventional  signs  or  by  means  of  certain  small 
notes,  that  is  graces  proper;  in  the  other  class  tnose  for  wnich  no 
particular  signs  are  in  use,  but  which  consist  of  many  short  notes 
written  out  in  full,  that  is,  divisions.  All  graces  must  be  kept  at 
a proper  rate  of  speed,  having  regard  to  the  duration  of  the  main 
note  as  well  as  to  the  prevailing  tempo  and  sentiment  of  the  piece, 
how  ana  then  a particular  grace  is  indicated  over  a long  note,  al- 
though the  grace  is  not  of  sufficient  duration  to  fill  up  the  entire 
note.  In  such  case  tne  final  note  of  the  grace  must  be  dwelt  upon 
until  the  next  main  note  occurs,  for  all  graces  are  introduced  with 
the  object  of  connecting  the  main  notes  one  with  another.  All  graces 
indicated  by  means  of  small  notes  belong  to  the  following  main  note; 
therefore  tne  main  note  which  precedes  a grace  should  never  lose  any 
part  of  its  value,  wnereas  the  main  note  which  follows  the  small  noteii 
will  lose  so  much  of  its  value  as  is  required  for  the  grace. 

Appoggiature  count  among  the  most  important  ana  indispensable 
graces.  They  improve  the  melody  as  well  as  the  harmony.  They  render! 
the  melody  agreeable,  for  tneyform  a smooth  connection  between  one 
note  and  anotner.  They  give  variety  to  tne  harmony  wnich  witncut 
them  might  seem  too  plain.  The  following  example  shows  the  manner 
in  which  appoggiatura  are  to  be  played  - that  is,  louder  than  the 
following  main  note  and  its  embellishments,  ana  legato  whether  the 
legato  be  specially  indicated  by  a slur  or  not.  These  directions 


46 


serve  for  all  appoggiatura  whicn  are  meant  to  connect  the  notes. 


w 


g§ 


a 


3 


jnz 


t 


n 


zi 


-<*=?- 


3= 


4: 


z= 


+ 


T 


Appoggiatura  sometimes  consist  in  repetition  of  the  preceding  note 
a sometimes  not  aa  , and  that  the  note  following  the  appoggia- 
tura may  be  an  ascending  one  or  a note  making  a skip. 


E 


'-U- 


-9- 


^ I 


i: 


:aE  ;# 


1 f 'r  n L 

-1 ^ ^ 4 


r 


i__j ( 


r 


L I 


3g  'i  * 


± 


I ( 


L 


1 1 1 


Vorschlage  or  appoggiatura  commonly  occur  in  square  time  both 
on  tne  down  beat  a and  on  the  up  beat  b ; in  triple  time  on  the 


down  beat  only  c . 


r 


A 


44 


TT 


r 1 

f 1 n 


3 


f’  -* 

1 — 1 — 1 — 1 


+■ 


* w 


a 


& 


£ 


I 1 


J 1 

4-rJ- 


I I ' 


© 


ft  * 


-&r 


it 


i,i  1 


f 


4h 


• 

. 


. 


■ 


i 


47 


The  common  rule  as  regards  the  duration  of  the  appoggiature 
is  that  they  take  half  the  value  of  a plain  note,  as  at  aa  in  one 
of  the  aoove  examples;  and  two-thirds  the  value  of  a dotted  note  as 
at  b . 

Vorschlage  (appoggiatura)  which  do  not  come  under  the  common 
rule  should  be  written  out  in  full  and  fitted  into  the  time  of  the 

bar. 


Appoggiatura  are  to  be  played  snort  when  they  fill  up  skips  of 


thirds.  In  an  Adagio,  however,  the  effect  will  be  mere  agreeable 

£=  * 


thus  - 


i 


& 


£ 


i 


g 0 


±=t 


i=t 


tne  appoggiature  are  better 
taken  as  triplets  rather 
than  as  semi-quavers. 


Occasionally  there  are  reasons  for  interrupting  the  flow  of  a melody 


■ 


48 


and  in  such  case  the  appoggiatura  ought  to  be  short. 


Appoggiatura  before  triplets  are  also  played  short,  so  that  tne  trip- 
lets may  not  be  obscured  or  the  phrase  mistaken  for  another  phrase. 


Both  long  and  short  Vorschlage  may  sometimes  in  addition  be  placed 
before  such  ether  Vorschlage  as  have  been  written  out  in  full  and  in- 
corporated in  the  bar.  1 When  the  main  note  is  repeated  and  a 
Vorschlag  precedes  the  repetition. 


4-4- 

f^= 

P- 

|V 

— r — 

fc= t 

l 

4^ 

^ 

1 

w — 

V 

<o 

l 

i 

\ 

= ' 1 



1 

-4-4= 

=t=rr — P— 

i— ~ 

CQJ „ 

— - 

* a 

— # 

* i 

& 

~9 

=/  * 

— f 

-**■  ' —4 

Shakes  enliven  tne  melody  and  are  therefore  indispensable. 
Formerly  they  were  not  often  used  in  any  other  way  than  in  connection 
with,  or  ratner,  after  a Vorschlag, 


or  upon  tne  repetition  of  a previous  note. 


. 


. 

. 

' 


49 


Now-a-days  they  occur  in  connection  with  moving  and  skipping 
notes,  at  the  very  beginning  of  a phrasej  also  upon  prolonged  notes 
as  in  the  following  example. 


Shakes  occur  at  a break  in  the  phrase  with  a previous  appog- 
giatura  as  well  as  after  an  appoggiatura. 


4- 


•fci 


* f 


The  ordinary  shake  is  correctly  indicated  by  the  sign  a/V  > 

W J 


i T i i ffftTa 


s 


0*0  * ^ 


At  times  two  little  notes  from  below  the  main  note  are  appended; 
they  are  called  the  Nachschlag  (closing  notes)  ana  add  much  to  the 
liveliness  of  the  shake. 


iPFTf  m 


/ vh } 


vw 


m 


'9  * 


y 


V 


. 


50 


Dotted  notes,  succeeded  by  a snort  note  ascending,  may  have  a snake 
with  tne  closing  notes. 


Shakes  without  closing  notes  are  most  serviceable  in  descend' 
ing  passages. 


0 ww 

\A/W 

VAJ  aa>\/  wa/0 

/ W i-5T 

1 * A 

/ ~ + 

M * 

\ i i . 

f m 



A* 

11  | 1 J # A 

1 * 

11  \ UJ  \ . " + 

Ut 

In  very  quick  time  it  is  sometimes  expedient  to  replace  a shake 
by  appoggiatura. 


If  shakes  occur  in  a succession  of  skips  tne  ordinary  snake  (without 
closing  notes)  is  advisable,  and  it  would  be  a mistake  in  such  cases 
to  introduce  either  a shake  from  below  or  from  above. 


t> 

vw 


A A/vd 


Aa /^\J 


AaaV 


22 


The  shake  from  above  is  marked  thus- 


' 


. 


51 


The  imperfect  shake,  transient  snake,  or  Prall-tr iller , which 
differs  from  both  shakes  by  its  sharpness  and  brevity  follows. 


_a_J 



1 

i ) 

4 — 

— I 

-4- 

- ' " ~ i, 

— 

— tr 



1 

— <2. 

. tur a r <a> 

— 

" - i 

The  turn  (Dcppelschlag)  is  a single  grace  which  serves  to  ren- 
der a melodious  phrase  pleasant  and  effective.  Its  sign  and  exe- 
cution are  as  follows. 


& 

c\s> 


m # 


C7 


I 


J 


This  grace  occurs  upon  moving  notes 


-)  f\D 


^ „ ! 

# 

==  1 — = 

■ f (X) M ^ * 

# 

W 9 A 

#■  ^ 1 

-111,.  y 2 i 

I * 

i 1 

u l 1 1 ( 

| 

upon  skipping  notes 


— A . 

*£S 



: y p . 

1 1 

^ 1 1 

1 

L = 

at  a break  in  the  phrase 


i=b 

1 

rl Rl  ! r 

Urs  & T » 

i f i 

1 *1  ^ ^ ^ g * 

l 

-1 

■H 

at  cadences 


upon  Fermat  os 


at 


the  beginning  cf  a phrase 


after  an  appoggiatura  at  the  end 


j „ -■■■  'i  - i i rrpMi 

1 » 

to M-L . T- W A W. ^ * !’  1 1 1 r 

■ -d. , — — ft — { r.  ~ M _ 

M fl 

f Lii  m ' f » ^ 

_ + w 

over  a repeated  note. 


C\9 

(f\— 

f * Z 

t rn  . 

1 1 | 

1 / 1 

^ y i 

1 V 

L r 

v7 \ — 1 

The  mordent  is  an  indispensable  grace;  it  connects  the  notes 
one  with  another,  adds  fulness  to  the  sound.  The  sign  for  a long 
mordent  and  the  proper  execution  is  as  follows. 


-A ' ^ 

-L-\  j & — 

. ^ ----- Jf  . ■ ^ ■■  ■■  ' ■ ' : “ “ ' 

-V-U  — 

w * v w 

) 

r=z±_.  : 

The  sign  for  tne  snort  mordent  and  its  effect  is 


55 


The  mordent  serves  to  connect  legato  notes  when  they  move  dia- 
tonically  or  skip,  also  when  they  are  furnished  with  an  appoggiatura. 

I ■w 


m 


3-  * 


5 


Z2Z 


id 


^ 3 * * 


P *«*-*- 


The  mordent  serves  to  fill  up  sustained  notes;  it  is  found  over  tied 

notes. 


V 


/‘f/V 


-0 — -0- 


» * * 


m 


^ 


over  dotted  notes 

'jvv " ) 'f/'J 


mm 


~9‘  * — * 


t — l u 


and  groups,  consisting  of  repetitions  of  tne  same  note 


- ^ * — 

* 

* |l 

h-  ' ■ ==fl 

^ 17 

— 

— 

J 

t « 

or  of  changing  intervals, 


0 

A--» — 



VX*  i 

1 

-0 — 

1 — 

V 

1 — 

A mordent  applied  to  skips  ana  staccato  notes  has  a brilliant  effect 
For  this  purpose  it  is  generally  played  short.  It  is  found  over 
notes  which  determine  the  harmony  and  which  require  special  stress, 


JL 


u 


± 


i r 


' 


■ 


, S 

. 


' 


55 


The  other  kind  of  anscnlag  often  contains  a dot  between  the  twc 
tiny  notes;  whereas  the  kind  first  mentioned  dees  not  admit  of  such 
a change. 


•A-  ’ V.  1 

. 

Pi 

t 

rv — 

— i — 

rf- — 

h- 

— 

— 

3t= 

=±==; 

i 

s — 

‘ * b* — 0 





— A--—.- 

...0. 

# 


& 

kJ  - 


-0T~* 


V * * 


£ 


1 


The  Schleii'er  or  slide  occurs  betn  with  and  without  a dot.  The 
slide  witnout  a dot  consists  of  two  or  of  three  little  notes,  which 
are  played  before  the  main  note. 

The  slide  of  two  notes  are  indicated  by  two  little  demisemi- 
quavers 


m 


4 


h- 


-0- 


-0- 


\ 


£ 

In  g time  semiquavers  will  suffice. 


M 

Avx  L 

■ r . <r>  \\ 

P 0 

h — * — u 

A slide  of  two  small  notes  differs  from  one  of  three  tiny  notes  in 
two  ways  - first,  the  former  always  occurs  before  a skip,  while  the 
latter  may  occur  otherwise;  secondly,  the  former  are  always  played 
rapidly  whereas  the  latter  need  not  be  so  played. 

The  execution  of  a slide  of  three  tiny  notes  follows. 


r- 


3£ 

U 


* f 0 # - -h-0 


All  dissonances  are  more  fit  to  express  emotion  than  consonance 


. 


56 


this  grace  is  more  often  applied  tc  the  former  than  to  the  latter  - 
it  is  thus  frequently  placed  over  a dissonant  and  prolonged  note 
which  it  partially  fills  up.  Under  such  circumstances  it  is  also 
used  in  an  Allegro  movement,  particularly  when  a passage  is  changed 
from  major  to  minor.  The  Schleifer  or  slide  of  three  little  notes 
will  readily  convey  an  impression  of  sadness  whereas  the  slide  of  twc 


notes  with  an  intervening  dot  will  as  readily  arouse  a sense  of  pleas- 
ant satisfaction. 

The  slide  of  two  notes  with  a dot  may  be  thus  shown 


Ornamentation  of  the  Fermata  or  Pause 
Pauses  are  often  introduced  with  good  effect;  they  arrest  at- 
tention, They  are  indicated  by  a small  slur  with  a dot  under  it 


demand.  A Pause  is  sometimes  introduced  for  the  saxe  of  expression, 
though  it  may  not  be  specially  indicated.  Apart  from  this,  Fermatas 
occur  in  three  ways:  a stop  is  made  either  upon  the  next  tc  the  last 
note,  or  upon  the  last  note  of  the  bass,  or  upon  a rest  after  the 
bass  note.  The  sign  for  a pause  should  be  placed  over  the  note  where 
the  interruption  of  the  time  begins,  and  perhaps  also  at  the  end  of 
such  interruption.  An  example  follows  with  ornamentation 


fr*=r| — 

Pi 

* 

Ovw 

* ^ 

u i g * & n 

r 

<5? 

i. 

1 

1 . 

»v  A 

Leopold  Mozart  1719-1787 

Mozart  occasionally  calls  things  by  different  names,  but  in 
substance  his  directions  and  examples  are  in  accord  with  those  of  his 


thus 


and  are  dwelt  upon  as  long  as'  the  character  of  the  piece  may 


57 


North  German  contemporaries  - Quantz,  Marpurg,  C.  Ph.  E.  Each.  He 
inclines  somewhat  towards  the  lax  ways  of  Italian  violinists  and 
vocalists,  and  fails  to  distinguish  with  sufficient  clearness  betweer 
improvised  divisions  and  graces  proper.  He  has  three  sorts  of  "Mor- 
dant", and  lumps  together  both  long  and  short  mordents,  the  auschlag 
and  the  turn. 

According  to  Mozart 

(a) ,  short  appoggiature  indicated  by  small  semiquavers  are  to 
be  played  as  quickly  as  possible. 

(b) .  All  shakes,  even  the  shortest  transient  shakes,  start  witl 
the  upper  accessory. 

(c) .  Passing  appoggiature  follow  one  main  note  and  precede  an- 
other, thus  connecting  the  two  - they  belong  to  the  time  of  the 

f ormer. 


Long  appcggiatura 


xr^  -4 

4 

a r 

■ y j I 

^f= 

& 

— ! — i (■ 

pf1  | i 

.) 

■^-rlL 

tut + 

I S i 

*jf-+ — 

3 

333j 

%l  l[j  '1 

z=fc± (- 

-H/ 

Short  Appoggiature.  The  grace  notes  as  quick  as  possible; 
stress  on  the  main  note. 


58 


Passing  appoggiature  can  be  applied  to  ascending  or  descending 
scale  passages. 


Combination  of  appoggiatura  and  turn. 


Hi 


zr 


£ 


* * * 


^ * 0 


=F 


7 

— r — 9 — — 

-ku 

L_ 

jit  * 6 *t>  ^ # 

^ * W & 

-i  i i i g i i 1 

After  beats 


a 


(From  below) 

FI 


~y~  * v 


— & ° * 


Nan/  ri  u ii  m 


35- 


Shakes  with  the  major  second. 


Shakes  with  tne  minor  second. 


. 


. 


59 


L 9 + -r^r 

\ 

U ***< 

*- 01  # 

— j 1 — 1 

V i 

— 1- 

JzLL 

4=4H 

A simple  shake,  beginning  with  the  upper  accessory. 


I 

Nicolo  Pasquali,  born  in  Italy,  settled  in  Edinburgh,  1743, 


Johann  Christoph  Friedrich  Bach,  1753-1795 


k:-  * f f 1 ’ 

K.  ■ :. 

S'  /W 

i 1 

| Ffffl 

■w  ^ * 0 +■  * + 

^ + * + * + 

t z= 

» ■■  »■=> . 

a/£) 


•v£> 


fcJTI  ' f i PWj 


e=aE 


/ # 

, Oj> 


-?# — 


^-a — ^ 


I 


PF 


% 


k 

1 


#f*'U  **r*  ' I * » V * i J 


-e- 


'*■»■:  0 * V 


% *>  b 

<r^9 


» ?? — 


0 ■■■■0.  & 


- n81 

— -W*  r^- 

lV  » • 

— - — — — * — lg--^  .» 

I *X  a\J> 


f3^\ 


I 3 4^^ 


b- 


' ^ ^ ^ w; 


1.  The  trill 

2.  Trill  with  after-beats 

3.  Trill  from  below 

4.  Trill  from  above 

5.  Half  or  Prall-triller 
6,7,8,9,10.  The  turn 

11.  Turn 

12.  Turn  from  below 

13.  Long  mordent 

14.  Short  mordent 


_ 


61 


Daniel  Gottlob  Turk 

Turk's  scnool  marks  tne  transition  from  the  treatment  of  tne 
clavichord,  and  harpsichord  to  tnat  of  tne  piano-forte.  With  regard 
to  ornaments,  tne  examples  and  explanations  cannot  be  strictly  ap- 
plied to  compositions  anterior  to  those  of  C.  Ph.  v.  Bach. 


Appoggiatura,  Long 


Appoggiatura,  short. 

JL± & 

g _t 

1 * 

K 1 

, -C, a ^2 i. 

p J 

-wy — ^ ^ 

! ' 1 

^ ' 

La 

=“  ) 

-r 

1 / ' V -• 

i r 

L-W — ja-t JS — 

1 f Jf  * i* 

* f 

jQ  * A 

=J  J “I— 

‘kJ—U  1 ~-r  1 

—I..*  . ■ j 

Appcggiatura,  before  dotted  notes. 


I^T=: 

1 { 

55 ! p ~ E g 

■ 

=1  ■ 1 

^ ^ 

==4? 

PM=| 

*=*. 

be  •'  * 

pft?  i 1 r 

— * * — 

w 

t=-Qj  i. 1 

i 

^ 

' 


. 


— .. 


. 


■ 


Schneller 

r 

f1 

-4— r 

4i-f *-  ,, 

wL 

) 

=M 

1 L 

-+ r 

— i — r 

1 R 

L ... 



-1 — 1 

JL L 

I 

— f — h — 1 

* ^ ^ L 

i • 

i 

v r 

* * - 

iij j * 

3 

L 1 

V ^ S' 

y/ , i | 

1 — - i I i L 

r 

1 

1 *1  - 

Mordent,  long. 


Acciaccatura  ana  Arpeggio  combined. 


1 ^ 


64 


4 


J-f 

> TV- 



1 

f}r\ 

;#  — r 

cJ  sJ 

JliJ. 

a 4_ 

0 . 

>— . I 

* L 

la. 1 

f 

OL 



1 

W 

7Z?  ^ r 

- A 

O ^ .7 

9 ^ ' 1 

* 

o 

_i 4L 

J 

s? 

73 

-SsJ # h 

. * O i 

F=*=U 

\ 

Gluck  1714-1787 

Gluck’s  ornaments  are  of  the  simplest:  appcggiature  long,  or 
short,  the  duration  determined  by  the  tempo  and  the  prevailing  senti- 
ment, ordinary  turns  and  shakes,  slides,  and  the  combination  cf 
snort  appoggiatura  from  above  or  below  with  shakes. 

Hayden  (1762-1809)  has  again  and  again  acknowledged  his  obli- 
gations to  C.  Ph.  E.  Bach.  In  the  matter  of  ornaments  especially, 
he  faithfully  followed  Bach’s  way.  Any  puzzle  as  to  Hayden's  inten- 
tions when  ne  marks  a grace  by  a sign  may  oe  solved  by  reference  to 
C.  Ph.  E.  Bacn's  directions  stated  above. 

The  following  turns  have  been  misinterpreted  in  some  editions 
of  Hayden's  sonatas 

^ m -#•  * 


# 


m 


-V-T- 


~ ■ ~ 


— 


* W + * 

i 0 

F * 9 * *— -1 



W \ 1 1 1 

-I— t~T 

t-  r^H 

. 


1 ' . . 

. 


66 


Short  appoggiature  Sonata  in  C. 


pj 

—f— 

— j,  ■ i i 

-f— — ^ ^ b + 

L 

f* 9 & ->  o i 1 — 

U A \ ;■  y ^ 

^ - T* 

r|  y - #f  * : 

Turn,  over  a note 
Sonata  in  A. 


Shakes.  Concerto  in  A,  No. 10. 
Allegretto  Written 


The  "Nachschlag"  occurs  in  Mozart's  Concerto  in  D minor 


67 


that  is 


Towards  the  middle  of  Beethoven’s  career,  about  1800,  the  pi- 
ano forte  had  everywhere  superseded  the  clavichord  and  harpsichord. 
Beethoven  was  the  greatest  pianoforte  player  of  his  time.  no  one  so 
much  as  he  saw  the  capabilities  of  the  instrument  for  rendering  em- 
phasis - all  that  is  now  included  under  the  rather  awkward  term, 
phrasing  - as  well  as  for  the  infinite  intermingling  of  sounds,  whici 
can  be  produced  by  means  of  the  pedals.  The  traditional  ways  of  Nor  11 
German  clavier  players  had  been  firmly  impressed  upon  Beethoven  in  hi 
youth  at  Bonn,  when  his  master,  Neefe,  brought  him  up  on  C.  Ph.  E. 
Bach's  "Versuch"  and  J.S.  Bach's  Preludes  and  Fugues;  ana  that  his 
touch  cannot  have  been  what  is  new  understood  by  a "pianist's  touch" 
but  ratner  the  touch  of  a clavier  player,  that  is,  a finger  more  than 
a wrist  touch;  so  much  so  that  his  notation  often  implies  legatissimo 
where  a virtuoso  of  today  might  hardly  suspect  the  need  of  ordinary 
legato. 

The  question  may  be  asked.  Did  the  novel  use  he  made  of  the 
resources  of  the  pianoforte  in  any  affect  the  rendering  of  ornaments? 


88 

Far  less  than  modern  editors  appear  to  believe.  Up  till  about  tne 
date  of  the  Pianoforte  Concerto  in  C minor.  Op. 57,  which  was  written 
in  1880,  ornaments  in  Beethoven  are  to  be  rendered  exactly  as  di- 
rected by  C.  Ph.  E.  Bach,  Turk,  and  Clement i - from  about  that  date 
onwards  a change  in  two  respects  only  is  required:  (a)  shakes  of 

some  duration  are  to  be  started  with  the  main  note,  since  on  the 
pianoforte  the  harmonic  significance  of  the  main  note,  especially 
when  it  is  struck  firmly  in  forte  passages,  is  thus  more  readily  undei 
stood.  (b)  The  effect  of  the  "Bebung"  is  to  be  produced  in  a new 
way  by  the  reiteration  of  a note  with  a regular  change  of  fingers, 
increase  and  decrease  of  speed  and  of  sound,  together  with  the  use 
of  the  pedals.  Examples  of  Beethoven's  ornaments  fellow 

Sonaia  in  F minor  Op. 2,  No.l 


0 


K. 


r. 


* ~ * 


t=F 


* . 


0 + * + • 


am  mu 


g 


gonata  in  F for  pianoforte  and  violin.  Op. 24  - Adagio,  bar  35 


Iff  — StH 


*1  • l 7-j 


! f\_ 


« * * » g 


Sonata  in  A,  Op. 2,  No. 2 
Bar  70.  Allegro  Vivace 


69 


Sonata  in  C,  Op. 2,  No. 3 
First  movement  - bar  3? 


;= — > ---w r ^ — ^ » 

i 1 — 

r ^ 

<g  - 

fTT-  ,i 

ivi  i i i L 

Lf — 

! 

1 U i 

^ L-  -* 


| A r— f 

rr  t 7 I. 

- + r f 

^ ft* 

' A-  t'^l — » — v 

3 i 

1 i — 

mTYv — D^; 

l\J  Vt 

— — l — - 

«_ — 

0 1 

— 

~f k — i * — 

r 

-f~, — ~ — t — ^ & ”:r 

Tin  D ■ ^ r * * > * 

^ 

i 

— w W-9T- 

*»  0 

Sonata  patetica  Op  13 


Allegro  de  rnolto  e con  brio 


pi 


. AA ) 


'W 

^ — 


AY\J 


I M i - -ui 


2ZZ 


^^3 


13 


Sonata  in  F,  Op. 10,  Mo.  3. 


Allegro 


pTfj 


Tr^ 


44 


-i — i 


* , ■.  t*-"  * * » * *- 


•»•  * 0 j * 1 ^ 


Presto 


Sonata  in  D,  Op. 10,  Wo.  3. 


- 


1 


£ 


rt 


r 


:fi 


IE 


EEEF4 


Sonata  in  E,  Op. 14,  No.l 
Allegro  - Bar  8 

\ \ , l ! 


*3 


.n  Jj-^4 

1 ,;  n’  f - 

r f1  ?ri  l 


n 


'TTj 


m 


JL 


i2_ 


1 C i 

>1  j=-  m 


-* — n 


Sonata  in  B flat  Op. 22 


First  mover)  ent , Bar  10. 


121 


■m 


i 


£ 


b-  ^ f 


Sonata  in  £ flat.  Op. 27,  Wo. 1 


■ • b I 

■ 


■■■■  jji  


71 


4 — lr4 — 

N J 

— rr  '.^*i 1 fr-i 

H 

Nr 

-* 

::::  -»y.i.  :.:£ri 

tdt±t±rfc?d 

• 

>•  r 
T 

1 

Sbf 

Sonata  in  C sharp  minor,  Op. 27,  No. 2. 

Presto  agitato 


Sonata  in  D minor.  Op. hi.  No. 2 

First  movement 


Second  movement 


=fer — TM rr 

-i  i | 

— 1 E--M  1 

1 Po  1 x L- 

& ' if 

* 

^ ^ ^ ^ 

— i f 

M X — i — n — 

Tmr~r~-'  Y r 

& — 

.£« g— ~ g 

-p..  / 

11  H — m_m| 

F V- 

W- — 

— i — i 

^ — J 

. 

t i 

. . 


72 


Weber  178b~1826 
Sonata  in  C,  Op. 24. 


ft  l nn  p 

* *-  • 1 1 1 »-  * 


X 


■*•  T-~- 

Op.  3,  Rondo 

f <N9 


^ <2. 


0 r + 


T- 


- ri*y  V i lrr  * 


^ ui  i r li 


* » *• 


tst 


SiF 


£ 


* 


mnzr  r^-i 


Shubert  1797-1828 
Sonata  in  A minor  Op. 42 


-h 


♦ :>»  ^ 


The  Schneller  above  is  meant  to  precede  the  main  note.  In  the 
Andante  paco  moto  and  in  the  final  Rondo  the  sign  occurs  with  its 
usual  significance  as  follows 


. . * m )-"? 


t*  'ri 


7 — 


s 


t 


in 

zn 

& ■ 


fft? 


£ 


' ' 


Deutsche  Tanze, 


Op. 33,  No. 10. 


Moments  Musical,  Op.  94 
Andantino,  Bar  3 No.  2 


74 


Viotti  (1753-1824)  came  to  Paris  in  1782,  and.  from  him  sprang 
the  great  scnocl  or  violinists  which  flourished,  in  France  during  the 
Empire  and  tne  Restoration,  and  whose  influence  is  still  felt.  The 
most  important  names  of  tnis  violin  school  were  Viotti,  Baillot, 
Kreutzer,  Rode,  Fionllo,  Paganini,  Spchr.  The  snake  was  tneir  main 
grace;  and  they  were  careful  to  indicate  the  upper  accessory  as  the 
usual  starting  note,  after  the  manner  of  Leopold  Mozart. 

Rudolphe  Kreutzer,  1766-1851 


I4tn  Concerto,  First  Solo 


„ & * tr  ft 

in  & i 

» * ““  " 

I " . 

* fi 

• $ £ 

£ 

W 1 

1 — - 

— 

:=£ 

— 

— 

+ 

Etude  No.  17 


Paganini  1784-1840 

The  Sarabande,  in  C,  Caprices,  No. 11,  in  wnicn  Paganini  clever- 
ly  follows  J.S.  Bach  and  tne  early  Germans  in  tne  attempt  to  show 
new  a solo  violin  can  be  made  to  play  a skeleton  harmonic  accompani- 
ment together  with  a complete  tune,  conxains  several  good  cases. 


where,  for  technical  reasons,  ornaments  must  be  played  in  an  unusual 


■ - 


75 


way,  tnat  is,  snakes,  with  the  prefix  from  below,  to  start  before  the 
accompaniment. 


No. 10  of  Paganini’s  Caprices  contains  an  arpeggio  with  a slide, 
which  is  to  be  taken  on  the  beat,  as  usual. 


is 


- — * 


J lr 


Spcnr  1784-1659 

Frank  Eck  (1774-  ),  Spohr's  “Master"  - insofar  as  a clever 

player,  but  an  inferior  musician  can  be  called  anybody's  master  - 
misapplies  the  signs  for  the  mordent  , where  ne  intends  to  shew  a 
Prall-triller  or  a Schneller 

5th  Concerto  in  A,  Rondo  Espagnole 

k\  K t 


m.  £ 1 - J sjr  j J 


i..n 


U 


should  be 


iA/ 

; 


Spcnr  unfortunately  repeats  this  blunder,  and  following 
Hummel,  commits  others.  It  is  a matter  of  regret  that  Spohr  did  not 


p I 


' 

. 


1 


76 


acquaint  nimself  more  thoroughly  with  the  instruction  books  ot  tne 
school  of  J.S.  Bach,  when  compiling  the  material  for  the  chapters  on 
graces  in  his  own  "Viclinschule" , wmcn  is  still  tne  standard  pro- 
fessional school  in  Germany,  Spohr  therein  records  his  views  of  whal 
a noble  style  of  violin  playing  should  be.  Spohr  ras  a great  execut- 
ant and  composer  for  his  instrument,  but  it  is  not  unfair  to  say  thal 
he  is  not  a good  guide  to  the  interpretation  of  music  other  than  his 
own.  His  technical  directions  for  the  study  of  the  shake  are  admir- 


able. 

(Spohr1 s autobiography  contains  evidence  of  the  little  knowl- 
edge he  had  of  the  best  music  before  Mozart,  such  as  that  of  J.S. 
Bach,  as  well  as  of  his  rather  lukewarm  attitude  towards  Beethoven 
and  v/eber. ) 

Short  shakes  and  schneller 


For  the  sake  of  completeness  it  is  necessary  to  mention  some 
of  the  ornamentation  sanctioned  by  the  composers  of  Italian  opera  in 
the  first  half  of  the  nineteenth  century.  Rossini  and  Belleni  are 
the  most  important  representatives,  the  vocalists  of  their  work  be- 
ing Pasta,  Grisi,  Alboni,  Rub  ini,  Tamburini,  Lablache,  Mario,  and 
Tamberlik. 


Rossini  1792-1368 


77 


t-i  '7 ' 1 t 


^ # ' f+  * * 


-#■ 


t=*^ 


■Vh 


Cadenza  from  ”11  Rimpr over o” 


Famous  quartet  in  Bellini’s  (1802-1835)  "I  Puritani” 


2=^ 


2frg- 


*£-i  nrv. 


Rossini  1798-1848 
Stab at  Mater 


JU*  : 1 E > ./ 

n ^ 

f 

ft  to 

y >■  V-  * * 

~i?y  ^ * ? 

T f j 0' I 

f]  * ; 

- — 

■ '■>*?  r ^ ' 

f. i 

1 it  1 r 

L > Ki  / 

7 

7 j : 

j-j.  fc 

K If  ' * Y 

+2. * . i _ ^ 1 r 

■v  ■ a ■ ' + * ~ — z—m  

w u * * 

53?  3? 

4/f^p  i — -—t 

^9  ^ h j • ^ 

-M j — i — . — 4 — 

^ — r~i — 

AA 

/IJ  i n 

Hummel  (1778-1837)  was  one  of  the  chief  professional  musicians 
in  Germany,  the  principal  virtuoso  on  the  pianoforte  and  the  most  ap- 
proved composer  for  that  instrument.  In  the  main  his  teaching  agrees 


78 


with  that  of  C.  Ph.  E.  Bach,  Turk  and  Leopold  Mozart.  But  in  certair 
particulars  he  chooses  to  diverge  and  to  use  the  conventional  names 
and  signs  in  a peculiar  and  arbitrary  manner.  Hummel  believed  that 
every  shake  snould  begin  with  the  note  itself,  over  which  it  stands, 
and  not  with  the  subsidiary  note  above,  first  because  the  note 
shaken,  after  which  a close  generally  follows,  ought  to  be  more 
strongly  impressed  upon  the  ear  than  the  subsidiary  note,  and  the 
stress  should  naturally  fall  upon  the  accented  of  the  two  sounds, 
namely,  on  the  note  to  be  shaken,  second,  because  on  tne  pianoforte, 
the  succession  of  notes  differs  in  some  respects  from  that  usual  on 
other  instruments;  and  on  account  of  the  position  of  the  hands,  and 
the  consequent  arrangement  of  the  fingers,  it  generally  is  more  con- 
venient for  the  player  to  begin  with  the  principal  note  itself  than 


with  the  subsidiary  note;  for  to  commence  the  shake  from  above  it  is 
often  necessary  to  lift  up  the  hand  or  to  substitute  another  finger 
on  the  same  key. 

For  the  Shake  with  closing  notes,  which  Hummel  calls  the  per- 
fect shake,  he  uses  the  usual  indication  tr,  while  the  sign  with 
him  stands  for  the  imperfect  shake,  i.  e.  . shake  without  clcsins*  notes 


+ * ys yr — 

#r,  .a 

, * f- 

TT 

/ 

-» ^ fc-v? 

11 

pF 

— 

W 

-*f~. r » " ' ‘ ‘ ' ^ — 

**-*.',  i±: 
4 — u 

ttummel  says  the  turn  is  represenrea  ana  piayea  in  three  airrerent 
ways: 


1.  Beginning  with  the  principal  note  itself. 


79 


2.  Beginning  with  the  subsidiary  note  above,  generally  called 
the  direct  turn 


3.  Beginning  with  the  subsidiary  note  below,  generally  called 
the  inverted  turn 


The  slide,  according  to  Hummel,  belongs  to  the  time  of  the  note 
before  which  it  stands. 


. 

m 


. 


80 


Czerny  1791-185? 


h=±k 


<3- 


Y r 

-+r  *-  ■+■ 


r 


i 


— 


n 


m 

sszi  «_  - ~ - 


* tt  +Z\,+ 


j2: 


7 e-  * ■ i* 


ATS/ 


I 


*A/ 

S- 


/W 


* — 1+- 


1'  t-=f- 


AA / 


^ t prr  h h n 

^ * . „ — „ «L, — !— = 


±£ 


^ — *- 


» * 


^ ^ 


t 


* # » r 


When  two  dots  are  placed  after  a note,  the  turn  must  conclude 
on  the  first  dot,  and  the  last  note  is  merely  held  down  so  much  the 
longer. 


- : - — — j- 

& 

*il 

:i=  — «L— 

b- 

£ 

rxr — -s-1 

- 1 — ffR  1 

1 

— ^ — 

| 1 t 9~ 

P./  \f — 

rr  D : 

_| LA  - 

Mendelssohn  (1809-1847) 


Mendelssohn's  signs  for  graces,  again  like  Domenico  Scarlatti, 
are  few  and  simple.  The  notation  is  always  clear  and  there  i3  noth- 
ing different  in  his  work  from  the  examples  already  given  of  other 
composers.  Many  characteristic  effects  in  Mendels 3 ohh's  pianoforte 
pieces,  obtained  by  means  of  rapid  succession  of  notes  without  pedal; 
are  true  harpsichord  effects  resembling  Scarlatti. 

In  Schumann  1810-1856,  however,  the  state  of  things  is  hardly 


. 


81 


so  simple,  for  his  pianoforte  music  has  little  in  common  with  music 
for  the  harpsichord,  and  can  not  be  played  without  very  free  use  of 
the  pedal. 


Albumblatt er.  Op. 99,  No.l 


^ Dii  O a 

1 ' 'T  k Arf  ^ 'V 

. K 5 

v a .j 

j,  h , r * r & ** 

f K)  p It  z f\  + 

1 A P J t -f  W *3- 

. k » ^ + 

I u-j  - | 

f VI-  J 

rv>  R 1 

r y k 5 

/>»/!;  f *7  I ^ 

I • k 7 

! Y r ^ 

• l ^ h j II 

if.  <*  1 

-4 

K j l f ° J J 3 

1 " 1 t 

5 fa.  1 

Occasionally  appcggiature,  both  on  the  beat  and  before  it,  oc- 
cur side  by  side  as  in  the  Intermezzo  Scherzo  of  the  Sonata  in  F 
sharp  minor,  Op.  11 


Sonata  in  F minor,  Var.l 


82 


Turn,  closing  a phrase,  always  to  be  taken  on  the  beat  - occurs 
often  at  the  end  of  a movement  in  the  oass. 

Liederkreis,  Op. 34,  No. 2 


Edward  Grieg  is  careful  to  distinguish  between  cases  where  the 
stress  falls  on  the  initial  note  and  cases  where  the  grace  is  antici 
patory.  In  the  most  characteristic  of  his  early  works,  "Twenty  five 
Norwegian  Folk  Songs  and  Dances",  he  strongly  emphasizes  the  first 
note  of  the  Schneller 


— — 1 ***  * — 

r 

or 

')  1 

A 

a 

J 1 

^ i r r j 

_| f * 

V i 

LJ 1 il 

w — />  ^ 

* - 

ja — 

W > 

f 1 ~ j*  * 

& & —— 4^ 

i — ( — * 

i i r 

~ ~ W I 

- — f=j 

1 i ' 1 1 Z. J 

~ » e=*=3  IT* e 

J 

J.  q i — 1 — ' 1 

Grieg's  Suite,  Op. 40,  Sarabanda,  contains  many  ornaments  written  outj 
all  on  the  beat.  Similar  cases  occur  frequently  in  the  works  of 
Brahms,  ana  Dvorak. 


83 


Chcpin  1809-1849 

Chopin  was  brought  up  in  the  traditions  of  the  old  classical 
school.  He  played  J.S.  Bach’s  Preludes  and  Fugues  all  his  life.  He 
was  strictly  conservative  as  regards  the  rendering  of  ornaments.  He 
was  in  full  sympathy  with  C.  Ph.  E.  Bach’s  delicate  distinctions  be- 
tween one  grace  and  another,  and  looked  askance  at  Hummel's  and 
Czerny’s  rather  crude  percepts  in  such  matters.  Any  doubt  which  may 
arise  as  to  the  rendering  of  an  ornament  expressed  by  signs  in 
Chopin,  - the  diatonic  or  chromatic  notes  required  for  it,  its  rhyth- 
mical position,  the  details  of  its  arrangement  in  the  time  of  the  bai 
can  be  readily  solved  by  a reference  to  C.  Ph.  E.  Bach.  The  direc- 
tions concerning  shakes  given  under  J.S.  Bach  above  apply  to  Cnopin. 
Shakes,  prolonged  shakes  more  than  short  ones,  generally  start  with 
the  upper  accessory.  They  do  sc  particularly  when  the  main  note  has 
been  toucned  upon  just  before  tne  snake,  as  in  Bach.  The  exceptions 
occur  wnen  a shake  starts  abruptly  after  a rest  or  wnere  tne  melodic 
outline  would  be  blurred.  For  example,  where  the  preceding  note  is 
one  or  more  degrees  higher  than  the  note  bearing  tne  shake.  Chopin's 
inclination  towards  chromatic  closing  notes  to  shakes  goes  with  his 
fondness  for  chromatic  sequences  generally. 

Shakes  may  start  with  the  main  note  as  well  as  with  the  acces- 
sory. 

Fantasia,  Op. 13 


Bolero,  Op. 19 


84 


7 


t,  p 


rj  r ~ .Li-  4 


TT 


that  is. 


-*■  # ..#■  „ # « ^ > *- 


-# — # 0 + 


m n, i; , i rra 


In  the  same  piece,  when  the  shake  is  tc  be  begun  with  the  main 
note  it  is  specially  marked  by  means  of  a small  note. 


* #>■ 


v 


& & o f -*  g- 


, e . 


35 


jfl-l  ft  * 


4- 


b tj 


T~9  71  ^ 

v 


0=^5 


l I 


* * **  *^  , * 


_£2_ 


I 


r 


The  long  Vorschlag  occurs  in  Chopin. 

Prelude,  Op.  38,  No.  8,  F"J  Sharp  minor 


85 


Short  Vorschlag 


Mazurka  in  F sharp  minor.  Op. 6,  No.l 


i r — r-7 

x ±;  z=. 


m 


* * i» 


mm 


+ * 


3£ 


h ..  N 5 


Several  cases  of  anticipation  occur  in  the  Fourtn  Scherzo,  E 
maior,  Op.  54. 


3a 


<5> 


= 


irrmy  rn’TT)|i  m~ni  nrm 


;#A  i 

— 1 *sr 

I5 f — j- 

w 

• 22 

J 

1 

— 

" >■ Q — 

& "*  ■>  J 

_? « 

- * J 

A chromatic  turn  occurs  in  the  Prelude  m E minor,  Op.  28,  No.  4 


that  is. 


*■■  ri  m ii)  <i 

L.-..  * 


e 


Berlioz  (1805-1869)  has  the  usual  trills,  short  appoggiature. 


■ • 


■ 


86 


turns  and  slides  written  in  the  usual  way. 

Liszt  (1811-1886)  nas  the  same  ornamental  figures  in  his  work 
as  Schubert  and  Weber  wnich  have  been  given  above. 

Wagner  (1813-1883)  in  his  earlier  works,  Rienzi,  Hollander, 
Tannhauser,  and  Lohengrin,  indicates  certain  conventional  ornaments 
by  the  usual  signs  and  little  grace  notes;  in  his  later  works, 
Mbelungen,  Tristan,  Meistersinger,  ana  Parsifal,  the  embellishments 
are,  for  tne  most  part,  written  out  in  full  and  divided  into  the 
measure,  so  as  to  form  part  of  the  main  text.  Graces  are  made  use 
of  in  all  sorts  of  subtle  ways  for  purposes  of  expression,  serious 
or  comic.  The  score  of  Die  Meistersinger,  for  instance,  contains 
hundreds  of  interesting  effects,  some  very  amusing,  got  by  means  of 
shakes,  slides,  short  appoggiature. 

Shakes  start  with  the  main  note,  especially  wnen  they  form  part 
of  some  ascending  or  descending  passage,  or  when  tney  occur  as  an 
ornament  to  a figure  already  established. 

Tristan,  Act.  I,  Scene  3 . 


Ordinary  turn 


Tristan,  Act  II, 


87 


Turn  in  the  March  from  Tannhauser  written  cut  by  Liszt. 


Short  Vorschlag  and  turn  from  below 


Tristan,  Act.  I,  Scene  3. 


Parsifal,  Act  III. 

a,  JE.  - ■#=  <*  20 


/,,i j 



— ^ 

4--'-  r , . I 

_ EL4 

* 

— 1 : 

-Jwl 



\ i 

4—  ■ — 



==: 1 

Graces  expressed  by  signs  are  fragments  of  figuration  which 
have  come  into  common  use,  like  favorite  figures  of  speech.  As  figu- 
ration in  the  early  days  was  mainly  diatonic,  the  signs  in  most  cases 
signify  diatonic  changing  notes.  The  tendency  to  introduce  chromatic 
inflections,  accidental  flats  or  sharps,  begins  with  the  change  from 
the  modes  to  the  modern  major  ana  miner  scales.  It  appears  in  J.S. 
Bach  whenever  modulation  takes  place,  ana  it  is  more  and  more  appar- 
ent in  the  works  of  his  successors  as  the  range  of  modulation  widens. 
The  signs  for  graces  increase  in  number  up  to  Bach  and  decrease  rap- 
idly after  his  time  when  printing  took  place  of  copying  by  hand. 


88 


Historic  comparison  proves  that  it  would  be  misleading  to  take 
C.  Ph.  E.  Bacn's  book  of  graces  for  the  sole  guide  to  the  graces  of 
J.S.  Bach,  and  we  ought  to  be  equally  careful  in  applying  the  direc- 
tions of  Hummel  and  Czerny  to  tne  ornamentation  in  Beethoven  or  in 
Chopin.  The  practice  of  starting  shakes  with  the  main  note  came  in 
with  the  pianoforte  (1800).  In  tne  majority  of  instances,  graces  be- 
long to  the  time  of  the  main  note;  sometimes  they  serve  to  connect 
one  main  note  with  another;  they  are  always  to  be  rendered  in  such  a 
way  as  not  to  retard  tne  correct  rythm  of  tne  piece.  The  signs  for 
graces  now  in  use  are  few,  and  tend  to  decrease,  as  composers  see  the 
advantage  of  writing  out  details  in  full. 


; 


* 


BIBLIOGRAPHY 


89 


Grove's  Dictionary 
Daunreuther 

Musical  Ornamentation 
Domenico  Scarlatti 

Allemande,  Suite  in  D miner  No. Ill 
Guiseppe  Tart  ini 

Violin  Sonata  in  G minor 
Daunreuther 

Complete  List  of  J.S.  Bach's  Ornaments 
J.S.  Bach 

Preludes  and  Fugues 

Inventions 

Sonatas 

C.  Ph.  E.  Bach 

Tables  of  Graces  - Daunreuther 

Leopold  Mozart 
Sonatas 

Johann  C.  F.  Bach 

Table  of  Graces  - Daunreuther 

Hayden 

Sonatas 
The  Creation 

W.A.  Mozart 

Sonata  in  A minor 
Sonata  in  B 
Sonata  in  C 
Sonata  in  A 
Concerto  in  A No. 10 
Concerto  in  D minor 

Muzio  Clement i 

Table  of  Graces  - Daunreuther 
Sonata,  Op. 50,  No. II,  D minor 


so 


Beethov  en 

Sonata  in  F miner.  Op. 2,  No.l 
Sonata  in  F,  Op. 24 

Sonata  in  A,  Op. 2,  No. 2 

Sonata  in  C,  Op. 2,  No. 3 

Sonata  in  E , Op. 7 

Sonata  Patetica,  Op. 13 
Sonata  in  F,  Op. 10,  No. 2 
Sonata  in  D,  Op. 10,  No. 3 
Sonata  in  E,  Op. 14,  No.l 
Sonata  in  B , Op.  32 
Sonata  in  E , Op. 27,  No.l 
Sonata  in  C minor.  Op. 27,  No. 2 
Sonata  in  D minor.  Op. 31,  No. 2 
Sonata  in  A,  Op. 69. 

Weber 

Sonata  in  C,  Op. 24 
Ronac,  Op. 3 

Schubert 

Sonata  in  A minor.  Op. 42 
Sonata  in  D,  Op. 53 
Deutsche  Tanze,  Op. bo,  No. 10 
Moments  Musical,  Op. 94 
Impromptu,  Op, 142,  No.l 

Paganini 

Caprice,  No. 10 
5th  Concerto  in  A 

Rossini 

Cadenza  from  nIl  Rimproveri" 
Stabat  Mater 

Schumann 

Albumblatt er , Op.SS,  No.l 
Sonata  in  F minor,  Op.  14 
Sonata  in  F miner.  Op. 11 

Chopin 

Fantasia,  Op. 13 

Bolero,  Op. 19 

Preluae,  No. 23  in  F 

Prelude  Op. 28,  No. 8,  F minor 

Mazurka  in  F minor,  Op. 6,  No.l 

Prelude  in  E minor.  Op. 28,  No. 4 


Wagner 


Tristan 

Tannhauser 

Parsifal 


